By Justina Gregory
The Blackwell better half to Greek Tragedy presents readers with a basic grounding in Greek tragedy, and likewise introduces them to a number of the methodologies and the energetic severe discussion that signify the learn of Greek tragedy at the present time.
Comprises 31 unique essays by means of a world forged of members, together with up-and-coming in addition to unique senior scholars.
Pays cognizance to socio-political, textual, and function points of Greek tragedy
All historic Greek is transliterated and translated, and technical phrases are defined as they appear.
Includes feedback for additional analyzing on the finish of every bankruptcy, and a beneficiant and informative mixed bibliography.
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Extra info for A Companion to Greek Tragedy (Blackwell Companions to the Ancient World)
Aristotle’s account is arbitrary and schematic and hence problematic. Gorgias is clearly the cardinal figure, and the generative notion is that the origins should point forward teleologically to the Athenian fulfillment, which is to say that the reconstruction was driven by the teleology. Aristotle seems to have employed an analogous procedure in reconstructing the origins of drama, though in this case he had little or no factual flesh to put on the bones of his scheme. Tragedy, comedy, satyr-play, dithyramb, phallic song, and aspects of the relationships between them, are retrojected into the remote past as a scheme of development.
Proclus (Chrestomathy 12) attributes to Aristotle the view that Arion was the founder of dithyramb and ‘‘first led the circular chorus [kuklios choros],’’ the latter a well-established alternative name for dithyramb. ’’ Other evidence has to do with choruses in honor of the Argive hero Adrastus. 67) describes how Cleisthenes, tyrant of early sixth-century Sicyon, deprived Adrastus of honor: ‘‘besides worshipping Adrastus in other ways, the Sicyonians honored his sufferings with tragic choruses [tragikoisi choroisi], worshipping not Dionysus but Adrastus.
Whatever we may make of the Suda’s notice about Pratinas, it is consistent with the unmistakable evidence of the vases that satyr-play developed much later than tragedy and comedy (Burkert 1966, 89). Aristotle may have known this, and it would in any case be unlike 26 Scott Scullion him to derive tragedy from the developed form of satyr-play. On the model of organic growth that is typical of his thought the seeds of the satyric drama performed with tragedy in the fifth century must have been present in an undifferentiated satyrotragic drama out of which tragedy and satyr-play developed – differently, but in institutional tandem.